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In Japan’s Shiga Prefecture, one textile manufacturer is aiming to repopularise the centuries-old practice of kaki-shibu-zome, known as Persimmon Tannin Dyeing into modern relevance. Declining in popularity against synthetic alternatives, the traditional dyeing method holds great cultural and historical value in Japan for over 1000 years.

Kaki-shibu-zome (persimmon tannin dyeing) utilizes a liquid known as kaki-shibu (persimmon tannin) derived from pressing, fermenting and ageing unripe green persimmon fruit. The tannins in the fruit produce an astringency suitable for preservation due to its durability and natural repellency against insects and mold. Historically it was used for protecting stored kimono, for strengthening paper, dyeing fishing nets, and coating wooden tools and textiles. Farmers, artisans, and craftspeople embraced kaki-shibu both for its practicality and its aesthetic qualities, seeing it as an expression of harmony with nature.

Today, contemporary designers and craftspeople are revisiting persimmon dye not only as a sustainable and natural resource but also as a way of reconnecting with traditional Japanese craft heritage. Its revival highlights an enduring appreciation for organic processes, understated beauty, and the balance between utility and artistry that defines much of Japan’s material culture.

The persimmon tannin-dyed textiles are created through a three-stage process (dyeing, spinning, drying). Depending on the desired colour and depth, the cycle can be repeated up to three times. During the process, nothing is wasted. Any excess liquid extracted during the spinning cycle is reused over and over. The textile is then dried in large greenhouses located nearby, providing a stable environment (abundant and consistent natural light) whilst being protected against disruption from wind, animals and insects.

Unlike natural indigo dye (aizome) that develops a deep blue colour from exposure to air resulting in oxidisation, persimmon tannin dye reacts to sunlight. Green or unripe persimmons themselves are full of tannins and when fermented can yield a deep, rich brown to dark gray colour that darkens with repeated dips, exposure to the sun, and with pH and iron shifting. Depending on the amount of light exposure during the maturing process when dyeing a piece of clothing or product, the depth of colour that the persimmon dye produces can be controlled in various gradients.

The longer it’s left out in the sun, the colour changes slowly with time and exposure. Hence why, the most important months for production of kaki-shibu-dyed items are during summer months when sunlight is consistent and abundant.

In Japan, Shiga is the only prefecture producing three major textiles (cotton, silk, linen) due to its proximity to the country’s largest freshwater lake, Biwa, resulting in high quality water. On the east side, linen is produced in Notogawa alongside silk in Nagahama, whilst Takashima in the west holds origins in cotton production. 

The calm, residential and farming locale of Notogawa in Shiga is known for it’s quality linen (ramie or hemp) textile production referred to as Omi-jōfu (high quality linen) and Omi-chijimi, a type of crinkled ramie uniquely finished by artisans who knead the fabric, creating a distinctive textured ‘shibo‘ ridge. The region’s high humidity and abundance of clean water led to the development of hemp and ramie fabric, cultivated during the Heian era, over 600 years ago. The production of linen in the area connects back to the history of the nearby Hikone Castle — one of Japan’s 12 remaining castles and an official National Treasure — as the textile was developed for the protection of the Ii clan, who resided in the castle during 1606 to 1871.

Notogawa is home to textile manufacturer, Omae Co., Ltd, who has been producing working with persimmon dye for over 40 years. Through their company Shibunosuke, they specialise in products and textiles crafted with the natural dye. Natural fibres, Natural dyeing, Natural water is a kind of slogan for 72-year-old owner Kiyoshi Omae. Due to their proximity and dependence on natural resources, his ethos is highly considerate of the environment. “We utilise a sun-drying technique, where limited electricity is used and where no gas emissions are produced.” Omae adds, “I believe what I do now is to purify the environment we have impacted.” 

In summer, the inside temperature of the greenhouses can reach up to 49 degrees Celsius. It’s an intense and challenging work environment and one that requires a young and enthusiastic team of craftspersons in order to survive for the future.

One such being 41-year-old Shinya Mizutani, impassioned to learn the trade and move to Shiga after living in Tokyo and working for Levi’s Japan for his early adult life. After a chance meeting and deeply resonating with Omae’s approach and philosophy, Mizutani was inspired to join the company and learn all about the craft of persimmon dye. Mizutani is now a kind of successor for Omae and the craft’s future. He simultaneously operates his own brand MIZUTANI SHINYA, a streetwear line of persimmon tannin-dyed clothing aimed at the younger generation. From hoodies to shirts, the garments vary from natural to synthetic fabrics and exude a contemporary attitude for the modern wearer. 

“The dyeing itself is a very simple process,” explains Mizutani. “The diversity of the dye means you can also dye synthetic fabrics but the preparation, condition of the fabric and technique is very important. If you’d like a darker, grey-ish colour, kure-zome is another technique after kaki-shibu-zome, due to the addition of iron providing an instant chemical reaction.”

Mizutani’s forward-thinking approach also includes collaborations with international artists. During my visit, he was dyeing a t-shirt created by renowned artist Pauly Bonomelli. Covered in strong visual graphics, the shirt’s white base would soon become either a light or dark orange dependent on Mizutani’s technique — a true collaboration. Intended as a collectible piece merging both talents, the limited series is akin to art. “The tradition of persimmon dye and streetwear together multiplies value. It’s a great match,” says Mizutani.

Persimmon juice production currently accounts for 60% towards food production and 40% for textile dyeing. To create the liquid as dye, it is fermented and aged for 2-3 years by a specialist producer known as a kaki-shibu-ya (kon-ya). However, Omae notes the ambiguity for the industry’s foreseeable future. “The number of businesses are declining and currently there are only three makers left that can create the liquid at industrial volumes. In addition, the amount of persimmon farmers is declining also.” However, his optimism remains key. “Right now what I can do is to promote kaki shibu and increase its interest to the world.”

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Text: Joanna Kawecki
Images copyright: Champ Creative / IMI JAPAN